If I am asked for the reason why painting is still at the heart of my artistic practice, my answer is that I paint as a form of resistance. I would also like to point out the meaning of this rebelliousness/resistance within a context of art having turned into technology, as well as state the necessary permanence of the materiality of this kind of images. These, along with the ‘time-images’ of my films and the e-images of my experiments with FX, cleave all categorical position and, in their interaction, stress contemporary procedures. Thus, by making all these imaginary production modes interact, I underline that painting being equal to tradition and history, it being the place from which every image conception is born, must be addressed from the long, deep paths it takes, in order to indicate that it is no longer a specific medium, and least of all a privileged place within art. Instead it is a strange, complex and even uncomfortable place. If we go back to the start, the question of why I carry on painting despite the functions of painting having been replaced and minimized, I will say that the practice of painting is precisely a place in which this rebelliousness/resistance acquires a sense of peculiar experience by which the timing of the image slows down, it stops and thinks; a practice whereby mediations from an augmented reality fade to solidify, materialize and make tangible our relationship with images. Thus the practice of painting, to me, is a mode of action in an irreplaceable art, in the words of Didi- Huberman, ‘a practice whose character is extreme’.